Among the irrevocable losses Hurricane Sandy wrought from New York were works of art: thousands of objects damaged or destroyed in Chelsea galleries, studios in Red Hook and Greenpoint. Phong Bui, artist, curator, and publisher of the Brooklyn Rail, was among those who lost work to the storm. He curated Come Together: Surviving Sandy, Year 1 as a statement of solidarity with a traumatized art community.
Sprawled over 100,000 square feet on four floors in the massive Industry City building in Sunset P... [more]

The Cat Show was inevitable: an art exhibition devoted to the feline as internet meme, domestic partner, and kitsch icon. Contemporary cat tropes were as bound to spill into art spaces as the boom of advertising was irresistible fodder for the “pictures generation” forty years ago.
The temptation is to dismiss The Cat Show, now on view at White Columns, as pandering: like a motorcycle exhibition or Harry Potter at the Discovery Center. The Walker Art Center presented a wildly popular Int... [more]

August is the toughest month to find a gallery exhibition that will inspire most critics’ fingers to pound the keyboard. With so many galleries closed, and others emphasizing the coming season’s first exhibition in early September, there tends to be a general lack of interest in mounting a show, especially anything substantive. However, there are some good gallery exhibitions here and there, one being “It’s Always Summer on the Inside” at Anton Kern Gallery in Chelsea. Organized by Dan McCarthy... [more]

Top Ten:1. Tino Sehgal: Marian Goodman Gallery. I often see shows I don’t like but this was the only show I’ve ever seen that didn’t like me! Last winter Tino Sehgal had performers stand in the rear room of this gallery and discuss art and philosophy. Viewers were acknowledged as they entered and occasionally included in conversations. After answering one of the performers he basically upbraided me. I was horrified, mortified and thrilled. Sehgal has taken "relational esthetics" to a whole new leve... [more]

On the heels of his Schmagoo Paintings exhibition, Joe Bradley spent the last month curating Peanut Gallery, a new group show of what he calls "funny, intimately scaled pieces made of humble materials" for The Journal Gallery. "There's a heckler vibe to a lot of the work," says Bradley, who's assembled everything from a Miles Davis portrait by Keith Mayerson and a Eunice Kim installation of a cardboard robot face (with red and blue lightbulb eyes) to one of Dan Colen's bubble-gum-enhanced canvase... [more]